Rampur Senia Gharana Sitar Performances in Delhi NCR
Music is sadhana, a lifelong journey. Explore my classical renditions and the rich lineage of the Rampur Senia Gharana.
A tribute to my Guru, Late Shri Arup Banerjee. As years pass, I feel his presence and rediscover his 'taalim' in new ways. Here I am playing one of the compositions he taught me in Raag Kafi.
On his 92nd birth anniversary, I share the golden words of my Guruji, Late Prof. Santosh Banerjee. He explains a rarely heard aspect of Alaap, that even though it is 'unbound', it still has a tempo.
My humble attempt at a traditional Rampur Senia Gharana gat in Shuddha Bhairavi. This composition has been passed down through four generations of the Guru-Shishya parampara.
As we approach the birthday of my Guruji, Late Prof. Santosh Banerjee, here is my attempt to play one of his favourite Raags, Abhogi.
My first Guru, Late Shri Arup Banerjee, used to say he would teach me compositions in Raag Kafi with the 'Sam' on all nine swaras. I was able to learn only four. This is the last one.
Trying an original composition of the great Acharya Baba Alauddin Khansaheb in his favorite raag, Bhairavi. This was taught to me by my Guru, Late Shri Arup Banerjee.
Attempting a composition by the genius Pandit Ravi Shankar is an audacity I admit to. This piece in Alhaiya Bilawal has haunted me since I first heard it on a tape as a child. My music is my reverence.
About My Gurus & Gharana
Every performance of a traditional gat, like the ones in Shuddha Bhairavi passed down through four generations, is a tribute to my gurus. I do not just play the notes. I play the taalim—the disciplined training—that defines the Rampur Senia style.
The Rampur Senia Gharana is defined by its deep, meditative quality, heavily influenced by the Dhrupad tradition. When I perform, I am not just playing music. I am continuing a conversation started by my gurus, Late Shri Arup Banerjee and Late Prof. Santosh Banerjee.
My approach focuses on the authentic structure of Ragas. We begin with a slow, meditative Alaap—what my gurus called 'unbound' yet disciplined—before moving into the rhythmic progression of Jor and Jhala. This style is not background noise. It demands the audience's attention.
Whether I am playing for an intimate baithak in a Gurgaon living room or a formal corporate event, I bring this same standard. I use internal pickups for a clear, authentic sound, but the soul of the performance remains acoustic. If you are looking for a musician who understands the history behind every swara and can explain the story of a Raga between compositions, we will find a common language. I am always happy to share the philosophy behind my music, just as my gurus shared it with me.
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